Tram Stop

by Eduardo de Miguel Arbonés / José Mª Urzelai Fernández /

Landscape Architecture: Eduardo de Miguel Arbonés, José Mª Urzelai Fernández
Location: Alicante, Spain
Design: 2005
Opening: 2009
Area: 12,000 m2
Cost: 5,200,000 €

: © E. de Miguel, J. M. Urzelai

: © E. de Miguel, J. M. Urzelai

: © E. de Miguel, J. M. Urzelai

: © E. de Miguel, J. M. Urzelai

: © E. de Miguel, J. M. Urzelai

: © E. de Miguel, J. M. Urzelai

: © E. de Miguel, J. M. Urzelai

Project Location: Allicante / Spain /
Show on Google Maps
Typology: Infrastructure /
Built: 2009 /
Involved manufacturers:
Published on May 19, 2010

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Judging by other media, doubling the amount of pedestrian space on Times Sq. is the crown achievement with this hyper-urban site. But Snøhetta went much deeper than merely mastering engineering pirouettes. The design (selection of the material, it's shape and colour) is full of references to past and contemporary culture connected to the Bowtie. The dark pavement complements the artificial light from above, giving it contrast like as found in black and white noir films. The benches were inspired by old cars from those noir times and from times of the establishment of Broadway's theatre culture. Furthermore the coin-sized metal discs inserted in the pavement reflect the light from above and emphasize a kind of a 'metropolis' or 'Blade Runner' like experience. Snøhetta's homage to artificial light also comes from the fact that the street was the first in US lit with electric lights. The lack of presence and recognition of this project in professional media and over-promoted doubling of the amount of pedestrian space are in my personal opinion problematic. It's about heritage, culture, artistry, experience and yes, also the quality and quantity of pedestrian space.

Times Square Redesign

This site is soaked with complex memories of WWII and bloody protests in a fight for freedom in the 1970'. The heaviness of the past is contrasted by the lightness of the absolutely marvellous grading of the square. There are traces and signs of those memories still that suggest respect and soberness, but nothing is heavy about this design. So maybe the new 'feel of the place' suggests that confronting the past is perhaps behind? It optimistically allows for new uses in the times to come. Another thing worth mentioning is if you read the design statement, the museum was supposed to look more like a house and less like a landscape at first. The architects proposed a square also to give some space to the new Philharmonic (by another architect) across the street which is an act of super-consciousness in the world of architecture and I'm not sure how many architects are capable of that. This attitude makes the Philharmonic look like an Instagram ready teenager and the square it's grown up neighbour.

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